Author: Editorial Team

  • AMON AMARTH Shares Single “Eight Legs Of Thunder” From Upcoming Album “The Allfather Awakens”

    Amon Amarth are back with “Eight Legs Of Thunder,” a new death metal anthem built around Sleipnir, Oden’s legendary eight-legged horse. The track moves with a galloping riff and a chorus made for a crowd to shout back, drawing on Norse mythology while its video takes the story somewhere far removed from the usual Viking imagery.

    Directed by Dariusz Szermanowicz, the clip drops the band’s mythology into a rough-edged modern American Western. Cowboys, pickup trucks, and wide-open roads provide the backdrop, while Sleipnir appears in a strange dream sequence.

    Szermanowicz explains the thinking behind the video: “With ‘Eight Legs Of Thunder’, together with the band, we wanted to break the traditional metal music video mold once again. We fused the raw, dusty vibe of a modern western with the epic, dark mythology of Oden’s eight-legged steed. It’s a high-octane, cinematic ride packed with cowboy tension, raw action, and a touch of dark humor. We didn’t just want to make a music video-we wanted to deliver a visual knockout.”

    “Eight Legs Of Thunder” is the last preview from The Allfather Awakens, due October 2 through Metal Blade Records. The ten-track album opens another chapter for Amon Amarth, while continuing the combination of memorable riffs, melody, and sheer weight that has defined the Swedish band for decades.

    Oden remains central to the band’s lyrical and visual world. The Norse “all father” is associated with war, wisdom, death, magic and poetry, and continues to provide Amon Amarth with much of its inspiration. The Allfather Awakens, however, is not a concept record. Instead, it brings together historically inspired stories focused on conflict, sacrifice and the pursuit of something greater.

    The new single arrives after Amon Amarth‘s first acoustic release, “Upphaf,” and “Gjallarhorn.” “Upphaf” took a stripped-down approach, while “Gjallarhorn” returned to the band’s familiar heavy attack. Both songs draw on Oden’s mythology, including the story of his sacrifice for knowledge.

    According to the ancient tale, Oden removed his own eye and cast it into Mímisbrunnr, the Well of Wisdom, seeking knowledge and foresight beyond mortal understanding. Amon Amarth have turned that story into part of the campaign surrounding the new album, with the message: “Those who received the eye know what must be done. Those who did not: seek it out. Sacrifice your sight. Gain your foresight.”

    The writing process for The Allfather Awakens also marked a shift for Amon Amarth. Rather than waiting for a break from touring, the musicians began developing material while they were on the road. Recording took place during two sessions at producer Jacob Hansen‘s studio in Denmark, beginning in spring 2025 and concluding in March 2026.

    Guitarist Olavi Mikkonen describes the approach: “We worked on one song at a time and made each song as good as possible. Then we recorded one song at a time until each track was totally finished — drums, guitars, and vocals. Only then did we start on the next one.”

    The band also changed its guitar setup, moving away from 5150 amps and returning to Marshalls for a somewhat less modern sound. Amon Amarth write the music before the lyrics, with the finished compositions often determining the direction of the words.

    “The Allfather Awakes” was the final song written for the record and supplied the inspiration for its title. Other tracks such as “Eight Legs Of Thunder,” “Kvasir’s Blood” and “Die With A War Cry” continue the album’s historical and mythological focus. The latter features the rallying lines: “Facing destruction / Annihilation / Master your thoughts and mind.” The cover is a portrait of Oden by Tom Thiel, who has previously created seven of the band’s album covers.

    More than three decades after forming in Tumba, Sweden, Amon Amarth remain tightly connected as a unit. That sense of loyalty carries through their live shows and recordings, with frontman Johann Hegg delivering the band’s themes through songs such as “We Rule The Waves.”

    The track sums up that restless, seafaring spirit: “From cradle until the grave / As long as the sun sets in the west / We rule the waves / Our restless hearts / Have brought us far / As far as Vinland’s shores / We’ve gone further / Than any man has ever gone before.”

    Since their 1992 formation, Amon Amarth have built an international following through relentless touring and a catalog that has carried them onto stages with SlayerIron MaidenSlipknot and Pantera. They have also taken over venues including The Forum in Los Angeles and Red Rocks Amphitheatre in Denver.

    Festival appearances have become another major part of the band’s rise. Amon Amarth headlined Wacken Open Air in 2024 before an audience of 85,000 and have twice topped the bill at Bloodstock Open Air in the U.K. They have also played Download four times between 2008 and 2019 and appeared at Summer Breeze eight times from 2003 through 2024, including six headline performances.

    The band’s next major North American run will pair them with Dethklok and Castle Rat in 2026. Their growing audience spans generations, from young metal fans to listeners who have followed the band for decades, while the music continues to balance heaviness with an emphasis on uplifting and inspirational themes.

    Few examples show Amon Amarth‘s influence more clearly than The Row. The audience tradition of sitting together and miming the motion of rowing a longship is widely traced to the band’s 2009 Bloodstock performance. In 2022, the band turned that tradition into a song with “Put Your Back Into The Oar.” Hegg explained: “we thought it was a good idea to write a song about The Row! This one is for you, the fans, wherever you are–and may Oden guide you as you row to your destiny in uncharted seas!”

    The ritual has since appeared at other artists’ shows and major events, including audiences at the 2026 World Cup. Footage from the original performances, however, points back to Amon Amarth fans as the source of the now-familiar spectacle.

    With The Allfather AwakensAmon Amarth are pushing their sound forward while keeping the elements that have carried them through more than 30 years: heavy guitars, melodic hooks, historical storytelling and a live identity built around their audience.

    The album will make its way onto the stage this autumn, when the band launches a new production inspired by Oden’s legendary Golden Hall. The result is set to extend the world of The Allfather Awakens into a new Amon Amarth live show.

    The post AMON AMARTH Shares Single “Eight Legs Of Thunder” From Upcoming Album “The Allfather Awakens” appeared first on Sonic Perspectives.

  • KAMELOT Unleashes Final “Dark Asylum” Single “Sanctuary” Featuring Three-Way Vocal Showdown

    Kamelot has released the last single ahead of its new album Dark Asylum, due out August 28 via Napalm Records. “Sanctuary” rides a wave of driving riffs and orchestral swells, with Kamelot frontman Tommy Karevik trading verses with Visions Of Atlantis vocalist Clémentine Delauney and Decessus frontwoman and current Miss World Chile Ignacia Fernández, stacking three distinct voices into one soaring performance. It’s a big, theatrical closer that finds the band planting its flag before launching into a victory lap.

    Dark Asylum unfolds in a Neo Victorian-tinged setting, pulling listeners inside RavenHill Asylum — a onetime cathedral repurposed into a place where science, faith and madness collide uneasily.

    Kamelot guitarist and founding member Thomas Youngblood broke down the song’s meaning: “‘Sanctuary’ represents the moment when the darkness of RavenHill is finally left behind. The song is about hope, freedom and finding your way back to yourself after everything you’ve endured.

    “The video takes the story beyond the walls of RavenHill and gives us a glimpse of life after the escape, a new beginning, but one still shaped by the memories and scars of the past.

    “With TommyClémentine and Ignacia bringing three distinct voices to the song, it gives ‘Sanctuary’ an emotional depth that perfectly reflects the journey from darkness into light.”

    The album is landing across a sprawling range of formats — standard gold, solid silver and classic black vinyl, plus certified white-label, white splatter and blood-filled variants that each come packaged with a 24-page booklet. Multiple CD digipak configurations are also planned, including a two-disc edition with an instrumental version of the album, alongside cassette and digital releases.

    Dark Asylum pushes Kamelot further into cinematic, atmospheric territory while holding onto the hooks the band built its reputation on. The record is populated by a cast of guest voices familiar to fans of the genre: Avantasia mastermind Tobias SammetEluveitie‘s Lea-Sophie FischerDelauneyFernándezRannveig Sif SigurðardóttirSólveig Sara Leupold and Billy King. Across the record, identity fractures and reality bends as its central figure descends into psychological darkness on a path that ultimately bends toward transformation, and maybe sanctuary. Between the sweep of “Ashen World,” the introspection of “Sanctuary” and the layered mystery of “Ivy, My Dear,” Dark Asylum plays out as a full concept piece, stitching orchestral scale, haunting melody and theatrical storytelling into a single arc.

    Youngblood elaborated on the concept: “‘Dark Asylum’ follows a soul trapped inside a world of masks, fractured memories, and psychological torment, wandering the endless halls of RavenHill in search of truth, identity, and redemption. What begins as a descent into darkness gradually transforms into a journey of awakening, where beneath the fear, illusion, and chaos lies the possibility of healing, hope, and ultimately a path out of the shadows into Sanctuary. The album explores the duality between despair and salvation, blurring the lines between reality and madness through theatrical storytelling, haunting atmospheres, and deeply emotional themes.”

    Karevik added his own take: “‘Dark Asylum’ invites listeners into the hidden chambers of the human mind. A journey where every door reveals a different story, yet all remain deeply connected. At its core, the album explores the duality of human nature: the constant tension between fear and hope, chaos and stillness, destruction and healing. ‘Dark Asylum’ reflects the struggle to remain sane within a cold and barren world, while ultimately discovering that salvation is not something found externally, but something that already exists within us all. Through self-exploration, awareness, and inner peace, healing becomes possible. This concept opened the door to a more cinematic and haunting sonic landscape, allowing us to experiment with darker, more eerie musical themes.”

    Longtime Kamelot producer Sascha Paeth returned to helm the record, with Jacob Hansen handling mixing and mastering.

    Karevik closed with a note on the album’s visual identity: “The imagery was intentionally painted with delicate strokes, capturing the fine line between beauty and disorder, and the way chaos and tranquility coexist within the same space. The result is an immersive experience that feels both unsettling and deeply human. A descent into darkness that ultimately searches for light.”

    Formed in Florida in the early 1990s, Kamelot grew into one of the defining names in symphonic and progressive power metal through albums like The Fourth LegacyKarmaEpicaThe Black HaloGhost OperaSilverthorn and The Awakening. Over three-plus decades, the band has built a global following on conceptual storytelling, orchestral arrangements and ambitious live shows.

    The post KAMELOT Unleashes Final “Dark Asylum” Single “Sanctuary” Featuring Three-Way Vocal Showdown appeared first on Sonic Perspectives.

  • TOM KEIFER Breaks Silence On Tour-Ending Vocal Injury: “I’m Taking Things One Day At A Time”

    CINDERELLA frontman Tom Keifer has broken his silence on the vocal injury that forced him off the road, thanking fans for their support less than a month after the final three dates of his 2026 solo tour were scrapped when he “completely” lost his singing voice to what was described as a severe vocal muscle strain.

    Tom addressed the situation directly in a Wednesday, Aug. 26 post on social media, writing, “I can’t express how much your kind words, prayers and well wishes have meant to me over the past few weeks following my vocal injury.

    “The injury I sustained requires an extended period of rest, with no singing before being reevaluated. I’m taking things one day at a time and will keep you updated.

    “Many thanks to everyone for an amazing tour this year,” he continued. “While the cancellation of the last 3 shows due to my injury was not quite the note we were hoping to end on, #keiferband 2026 was an incredible tour thanks to the energy and enthusiasm you all brought to every show.

    “The prayers and encouragement are greatly appreciated and your comments have been truly uplifting… I am determined to -RISE+ and overcome.

    “Much love to all”.

    The scrapped shows included a July 30 date at the Keswick Theatre in Glenside, Pa., an Aug. 1 festival slot at Rock The Dam in Beaver Dam, Ky., and a previously rescheduled Aug. 3 gig at Warehouse Live Midtown in Houston — itself a makeup date for a June 27 show Tom postponed minutes before stage time due to “sudden illness.”

    When the cancellations first broke on July 29, Tom‘s manager, Tim Heyne of Union Entertainment Group, issued a statement on social media: “Unfortunately, Tom Keifer has suffered a severe vocal muscle strain/injury resulting in complete loss of singing voice, forcing the cancellation of the last three upcoming shows of the Keiferband‘s 2026 concert tour. Please contact the venues or ticket services for refunds.

    “Canceling any show is the last thing Tom ever wants to see happen. He loves performing for you all and makes every effort to ensure his voice is the best it can be for every show.”

    Tom fronted Cinderella on every one of the band’s studio releases, starting with 1986’s Night Songs and 1988’s Long Cold Winter. Two more albums followed before Tom developed vocal paresis, the grunge era hit and the band’s record deal dried up.

    Cinderella hasn’t put out new music since 1994’s Still Climbing, though the band reunited for scattered live dates starting in 2010. It has stayed largely dormant in recent years as Tom has poured his energy into solo work.

    Back in March 2022, Tom admitted he was “not prepared” for the 2021 death of Cinderella guitarist Jeff LaBar, who was found dead by his wife inside his Nashville apartment in July 2021 at age 58.

    The post TOM KEIFER Breaks Silence On Tour-Ending Vocal Injury: “I’m Taking Things One Day At A Time” appeared first on Sonic Perspectives.

  • COREY TAYLOR, GEEZER BUTLER, NUNO BETTENCOURT & MATT SORUM Team Up For Pro-Shot “War Pigs” Performance Video

    A pair of professionally shot performance videos has surfaced from the upcoming concert film Sound & Vision Live, giving fans an early look at the all-star renditions of “War Pigs” and “Shooting Star” captured at this year’s inaugural Palm Springs Sound & Vision Awards. The footage, filmed and edited by Harry Reese, also folds in behind-the-scenes glimpses of rehearsals at GoodNoise Studio and soundcheck at the historic Plaza Theatre, where the March 2 ceremony went down.

    The night doubled as a tribute to Rock And Roll Hall Of Fame inductees Paul Rodgers and Geezer Butler, and it’s now being immortalized on Sound & Vision Live, a limited-edition, all-star double vinyl set drawn from that evening’s performances. The record was put together by Matt Sorum — Rock And Roll Hall Of Fame inductee, Grammy-winning drummer and co-founder of Adopt The Arts Foundation — with proceeds earmarked for music education programs.

    Earlier this month, Adopt The Arts Foundation confirmed the album’s release alongside pre-sale details and plans for a record-release celebration and concert film screening, set for Sunday, Sept. 13, at the Plaza Theatre in Palm Springs.

    The lineup assembled for the tribute reads like a hard rock supergroup: Paul Rodgers (Free, Bad Company) and Geezer Butler (Black Sabbath) were joined onstage by Corey Taylor (Slipknot), Lzzy Hale (Halestorm), Glenn Hughes (Deep Purple), Nuno Bettencourt (Extreme), Charlie Starr (Blackberry Smoke), Phil X (Bon Jovi), Steve Stevens (Billy Idol), Matt Sorum (Guns N’ Roses, Velvet Revolver), Robert DeLeo (Stone Temple Pilots), Stevie Salas (Mick Jagger) and Mike Mangan (The Cult), along with Paul Ill (Alicia Keys). Every one of them donated their time for the cause, which supports music instruction in underserved public elementary schools.

    Sorum never set out to make a live album out of the evening.

    “I never went into that night thinking we were making a record,” said Sorum. “I originally had the show recorded and filmed because I wanted to preserve the experience for myself. But when I listened back, I realized we had captured something truly magical — the energy in the room, the performances, and the spirit of all these incredible artists coming together for the kids. Through Experience Vinyl, we had an opportunity to turn that moment into something people could hold on to while raising meaningful support for music education.”

    The first pressing will run 2,000 double-vinyl copies at $99.98 apiece. Of that batch, 250 color-vinyl “Plaza Theatre” collector’s editions carrying exclusive artwork will be reserved for the Sept. 13 event, with the rest handled through Experience Vinyl, whose pre-sale opened Aug. 3.

    Experience Vinyl donated its services outright so every dollar from sales flows straight to Adopt The Arts Foundation, while philanthropic backers covered the costs of mixing, mastering and finishing both the album and its companion film.

    Experience Vinyl is about preserving the moments in music that deserve to live beyond a single night,” said Seth Frank, founder of Experience Vinyl. “From the performances to the purpose behind them, Sound & Vision Live is exactly the kind of project we want to help bring into the world. We are proud to donate our work and platform so that proceeds directly support Adopt The Arts and help provide children with access to music education.”

    On the technical side, Kemble Walters and Miguel Sosa handled the recording, with Walters mixing at Goodnoise Studios in Palm Springs. Mastering fell to Grammy-winning engineer Howie Weinberg alongside Will Borza, while photographer and creative director Glen Wexler shot the album artwork and put together the liner notes documenting the night and the legacies of Rodgers and Butler.

    Executive producers Jackie and Joby Pritzker, along with co-executive producers Dale LawrenceJames Malachowski and Sam Senigaglia, helped bring the project to life.

    September 13’s celebration at the Plaza Theatre will feature two screenings of the companion concert film, which weaves the March 2 performances together with rehearsal footage and commentary from Sorum. A 3 p.m. screening is set aside for Palm Springs Unified School District students and their families, followed by a 7 p.m. public screening and release party that includes a live conversation with Sorum and a still-unnamed special guest, plus merchandise and a silent auction benefiting Adopt The Arts.

    Founded in 2012 by Sorum and Emmy-winning actress Jane LynchAdopt The Arts Foundation now reaches more than 4,000 students a year across Los Angeles and the Coachella Valley, supplying instruments, curriculum, teacher support, artist mentorship and performance opportunities to underserved schools.

    “Every artist who stepped onto that stage understood why we were there,” Sorum said. “We came together to celebrate two legends, but the real encore is every child who discovers music because of this record.”

    Album information and ordering details are available through Experience Vinyl.

    The post COREY TAYLOR, GEEZER BUTLER, NUNO BETTENCOURT & MATT SORUM Team Up For Pro-Shot “War Pigs” Performance Video appeared first on Sonic Perspectives.

  • Progressive Metal Outfit ZERO HOUR Returns With New EP “No Man’s Land”

    Zero Hour’s new studio EP No Man’s Land sees the revered band’s incredibly technical and dynamic prowess put on full display, as expected from this top-tier musical collective. No Man’s Land features original members, guitarist Jasun Tipton and vocalist Erik Rosvold, joined by newer members, bassist Andreas Blomqvist and keyboardist Jeremy Villucci. Roel van Helden was acquired as a session drummer for this new chapter for Zero Hour.

    No Man’s Land delivers two new songs – “Codes Of Violence and “No Man’s Land,” as well as instrumental versions of both tracks – marking another bold installment in the band’s impeccable catalog. Recorded by the band, with the drums recorded by Kai Stahlenberg at Kohlekeller Studio, the EP was mixed and mastered by Matt LaPlant at Madtown Mix Studio and completed with brilliant artwork by Wayne Joyner (Dream Theater, Ayreon, Devin Townsend).

    Jasun Tipton writes about “Codes Of Violence,” the first preview of the record: “The guys and I are very, very excited for the listeners to hear No Man’s Land. Erik, Andreas, and Roel absolutely bring it on ‘Codes Of Violence’ and ‘No Man’s Land.’ The two tracks each clock in at over thirteen minutes long. The material is very dynamic, heavy, and dreamy, with plenty of twists and turns. We added keyboardist Jeremy Villucci, whose performance takes the material to another level.”

    Zero Hour will independently release No Man’s Land on CD and digitally through their own independent label, CynNormal Lab Recordings, on October 16th. Pre-orders can be placed here.

    Originally formed in the San Francisco Bay Area in the ’90s by Jasun Tipton and his brother Troy, Zero Hour was formed to create heavy, melodic, dark, and intricate music with influences from diverse sources like the Dio-led years of Rainbow, The Pat Metheny Group, and Dream Theater. The band released six studio albums from 1998 to 2008. The first two – Zero Hour (1998) and The Towers Of Avarice (2001) were self-released, while the next four – Metamorphosis (2003), A Fragile Mind (2005), Specs Of Pictures Burnt Beyond (2006), and Dark Deceiver (2008) – were all released under Sensory Records of the vast Laser’s Edge Group.

    Zero Hour dissolved after the release of Dark Deceiver, when Troy Tipton suffered an arm injury that prevented him from playing bass. After Jasun Tipton and vocalist Erik Rosvold reunited the group, they recruited drummer Roel van Helden. The two became friends when Roel’s group at the time, Sun Caged, and Zero Hour played a gig as direct support for Liquid Tension Experiment. They stayed in contact, and years later, they reconnected overseas and chatted about making music together. Van Helden was then instrumental in bringing Andreas Blomqvist into the lineup, having known him in his prior band, Seventh Wonder. This lineup would then construct the return album, Agenda 21, released through Frontiers Records in 2022, and now arrives with the immersive No Man’s Land, opening the next chapter of Zero Hour’s ongoing saga.

    The post Progressive Metal Outfit ZERO HOUR Returns With New EP “No Man’s Land” appeared first on Sonic Perspectives.

  • FOREIGNER Marks 50th Anniversary With Reissue “Head Games” Featuring A New PETER FRAMPTON Guitar Solo

    Foreigner is deep into its 50th-anniversary victory lap, and the next stop is a fully overhauled edition of Head Games, the band’s multi-platinum third album. Coming off last year’s deluxe treatment of Foreigner 4, the band has now remixed and remastered the 1979 record for an Oct. 30 release on CD/Blu-ray, black vinyl and DSPs. Kicking things off is a newly unearthed outtake, “Trouble,” available digitally starting today.

    Producers Jeff PilsonForeigner‘s bassist, and longtime collaborator Wyn Davis oversaw the reissue, which also includes a new liner-notes essay from music journalist Ken Sharp tracing the album’s history. The original Head Games lineup — Lou Gramm on lead vocals and percussion, Mick Jones on guitar, piano and vocals, Ian McDonald on guitars and keyboards, Rick Wills on bass and backing vocals, and Dennis Elliott on drums — delivered hits like “Dirty White Boy” and the title track. It was a record of lasts and firsts: Wills‘s debut with the band, the final appearance from founding members McDonald and Al Greenwood, and the last time Jones sang lead on a Foreigneralbum.

    The reissue’s Super Deluxe CD/Blu-ray edition packs in the freshly remixed original 10-track album alongside a full disc of outtakes and alternate takes, plus a previously unreleased live set from the Head Games tour with staples like “Cold as Ice” and “Feels Like the First Time.” A Dolby Atmos Blu-ray mix rounds out the set. Beyond the Super Deluxe package, the album will also land as a standalone 1LP vinyl pressing, an Atmos version of both the full box and the standalone remix, and a Digital Super Deluxe Edition for streaming.

    The real find here is “Trouble,” cut in May 1979 at Atlantic Studios in New York during the original Head Gamessessions and co-produced at the time by Roy Thomas Baker. It surfaced during research for the reissue and has now been remixed for its first-ever commercial release, arriving with a newly recorded guitar solo from Peter Frampton, a longtime friend of Jones. The track ships as a seven-inch single backed with fellow Head Games-era rarity “Zalia,” available direct-to-consumer through Rhino.com and the band’s own merch store.

    Head Games dropped in September 1979 and cemented Foreigner as one of the defining rock bands of its era, following the massive success of the band’s self-titled 1977 debut and 1978’s Double Vision.

    With more Top 10 hits than Journey and matching Fleetwood Mac‘s tally, Foreigner sits high on Billboard’s “Greatest of All Time” rankings. According to Nielsen SoundScan, the band’s weekly catalog sales have at times outpaced Led Zeppelin, AC/DC, The Rolling StonesThe WhoDef LeppardVan Halen and Aerosmith. Ten multi-platinum albums, 16 Top 30 hits and more than 80 million records sold back up the band’s status as one of rock’s most enduring acts, with a catalog that still fills arenas and includes staples like “Juke Box Hero,” “Cold as Ice,” “Hot Blooded,” “Waiting for a Girl Like You,” “Feels Like the First Time,” “Urgent,” “Head Games,” “Say You Will,” “Dirty White Boy” and “Long, Long Way From Home.” The band’s chart-topping “I Want to Know What Love Is” also sits in Spotify’s exclusive Billions Club, and Business Insider recently ranked Foreigner among the Top 40 best-selling music artists of all time.

    Head Games is available to pre-order here.

    Foreigner‘s current lineup is:

    Luis Carlos Maldonado / Vocals
    Pilson / Bass
    Michael Bluestein / Keyboards
    Bruce Watson / Lead guitar
    Chris Frazier / Drums
    John Roth / Guitar

    The post FOREIGNER Marks 50th Anniversary With Reissue “Head Games” Featuring A New PETER FRAMPTON Guitar Solo appeared first on Sonic Perspectives.

  • PEARL JAM Bassist JEFF AMENT & Brother BARRY AMENT Announce Book Tour For “Since Forever” Release

    Pearl Jam bassist Jeff Ament is taking his upcoming photo memoir on the road. Ament and his brother, designer Barry Ament, will mark the September 25 release of Since Forever with nine book events spanning the United States and London.

    The stops include two dates at Ohana Festival in Dana Point, Calif., a pair of Seattle appearances, and single shows in Chicago, New York City, Boston, Philadelphia, and London. At each stop, the Ament brothers will sit down with a rotating cast of moderators to walk through images from the book and dig into the stories behind them, along with the decades of creative back-and-forth that got them here.

    Since Forever runs more than 250 black-and-white photographs deep, and roughly 90 percent of them have never been shown publicly before. Shot mostly between 1990 and 1998, the collection pulls back the curtain on Pearl Jam‘s early years — tour buses, backstage corridors, studio sessions and all the dead time in between — with Ament‘s own commentary filling in the gaps.

    The book actually started as a rescue mission. Jeff and Barry began digging through three decades’ worth of decaying negatives just trying to save what was left, and the cleanup job eventually turned into something bigger: a visual diary of friendship, family and life spent on tour.

    Tickets for the full run of book events are available now via this linkSince Forever is up for pre-order and will hit select independent bookstores on Sept. 25.

    Ament has been Pearl Jam‘s bassist since day one and went into the Rock and Roll Hall of Fame with the band in 2017. Before that, he was a fixture of Seattle’s music scene through the mid-1980s and early ’90s, playing in Deranged DictionGreen RiverMother Love BoneTemple of the DogWar BabiesThree FishTres Mts.RNDMP.E.S.T and Deaf Charlie along the way. His solo catalog includes Tone (2008), While My Heart Beats (2012), Heaven/Hell (2018), American Death Squad (2020) and I Should Be Outside (2021). He also scored FX‘s Under the Banner of Heaven in 2022 and just wrapped a soundtrack for the documentary Montana Grind, and has two Grammy Awards to his name for Best Recording Package.

    Born in Havre, Montana, in 1963 and raised in nearby Big Sandy, Ament studied art at the University of Montana before relocating to Seattle in 1983. A skateboarder through and through, he founded Montana Pool Service in 1992, first rebuilding Seattle skateparks before shifting his attention back home. Since then he’s helped fund and build more than 40 skateparks across Montana and the American West, many of them on Native American reservations, giving kids in isolated communities a place to skate and build something of their own.

    Barry Ament runs the design side of things. He co-founded Seattle studio Ames Bros with partner Coby Schultz in 1994, and over three decades the shop has produced work for Pearl Jam, Nike, Topps, the Seattle Seahawks, Pagliacci Pizza and plenty of others. Barry started designing in-house for Pearl Jam in the early ’90s — album packaging, posters, T-shirts, even tube socks — and Ames Bros has since put out more than 500 concert posters for the band and other artists.

    The Ament brothers’ creative partnership goes back to childhood, long before either of them had a design studio or a band to work for — sketching together, building skate ramps, then mailing artwork cross-country once Jeff left for Seattle. That habit never really stopped.

    The post PEARL JAM Bassist JEFF AMENT & Brother BARRY AMENT Announce Book Tour For “Since Forever” Release appeared first on Sonic Perspectives.

  • Grammy-Nominated Hardcore Legends HATEBREED Share Title Track From New Album “Fatal Paradox”

    Studied, imitated, but never replicated, the Grammy-nominated hardcore legends Hatebreed drop their long-awaited studio album Fatal Paradox on November 6 via new label BLKIIBLK.

    Today, they share the title track — an under-three-minute, groove-driven anthem with the kind of breakdown that leads to bloody noses, bruised limbs, and broken teeth in the pit.

    Hatebreed have remained a fixture of the hardcore and metal scenes for the better part of three decades. After writing the playbook with their genre-defining releases Under The Knife (1996) and Satisfaction Is The Death Of Desire (1997), Hatebreed continued to carry the banner for metallic hardcore with albums like Perseverance (2002), The Rise of Brutality (2003), and Supremacy (2006) dominating charts globally. In recent years, the band’s undisputed offensive continues with modern records The Concrete Confessional (2016) and Weight of the False Self (2020), remaining fixtures on charts globally. The band’s core values of self-actualization, perseverance, and honest living have carried them from backyard and basement shows to festival dominators, selling out shows consistently across the world, effectively practicing what they’ve preached.

    Enlisting long-time collaborator Zeuss (Rob Zombie, Accept, Shadows Fall), “Kill Count Increase” is crossover excellence with accelerating speeds, crushing riffage, and frontman Jamey Jasta‘s venomous bark inciting crimson flashes of carnage.

    Holding no punches and taking no prisoners, Fatal Paradox sees the Connecticut-born juggernaut operating at full tilt, bludgeoning listeners with a barbarous blend of breakdowns, d-beats, and dogpiles. Whether it’s the thrash stylings of “Kill Count Increase” or “Total Invincible,” capital H hardcore excellence of “The Carrion Choir” and “Truth Is A Lion,” rage remains the unifying spark to blow the keg in glorious flashes of violence.

    Fatal Paradox is available to pre-order here.

    The post Grammy-Nominated Hardcore Legends HATEBREED Share Title Track From New Album “Fatal Paradox” appeared first on Sonic Perspectives.

  • Southern Melodeath Masters AETHER REALM Announce Incendiary New Album “Season Of Bloodshed”

    Soaked in blood and craving more, North Carolina’s melodic death metal masters Aether Realm have undergone a violent transformation, emerging with their ferocious new album Season of Bloodshed, to be unleashed December 11 via Napalm Records.

    Since the band’s 2020 album Redneck Vikings From Hell, Aether Realm has held on by the skin of its teeth through a global pandemic, the historic Hurricane Helene, and a mid-record lineup change, with former guitarist Donny Burbage departing and new guitarist Chris Jones entering the fray. Season of Bloodshed clutches you in its blood-soaked claws and guides you on an intense exploration of an existential transformation fueled by rage.

    About the album, the band states: “This is an album born from an anger that was allowed to fester for too long. At the confluence of the great injustices of our time and the insignificant wrongs that get under our skin every day, we can find ourselves transformed into our worst selves. It is in the expression of this feeling—through these cruel riffs, shredding solos, and crushing breakdowns—that we may find peace.”

    From its first heartbeats, the album bares its teeth. The vampiric opening track “The Blood Is Calling” is layered with thunderous kick drums and cataclysmic string arrangements, setting the stage for something truly ghastly. Propelled by blast beats from drummer Tyler Gresham, ornate guitar harmonies, and Martin Gonzalez’s enveloping orchestrations, the first track is a herald of a new era as the band transforms into something darker. “Control” opens with a triumphant harmonized guitar duel before taking off at one hundred miles per hour, with virtuoso guitar duo Heinrich Arnold and Chris Jones weaving riff tapestries that embrace listeners in a dystopian dream of the future. Always looking to experiment with the form, “Broken Fist” enlists guest vocalist Taj Jewett to lend their rage to a track that fuses nu metal and prog into a showcase of infectiously bouncy grooves and unstoppable riffage.

    The aptly titled “Get Fukt” is as vitriolic as the title suggests. Bassist and frontman Jake Jones delivers a venomous verbal onslaught alongside driving harmonized riffs clearly developed at the school of Bodom. “The Weight” offers the album’s first brief respite with serene synths paving the way for another hellish breakdown; tectonic drums crack the ground as flaming guitars emerge from the rubble and lash at the sky. Featuring the impeccable orchestration of composer Wayne Ingram (known for his work in Wilderun and on Assassin’s Creed Valhalla: Dawn of Ragnarok), the track expands into mesmerizing grandeur.

    Opening with a serene folksy respite provided by departing guitarist Donny Burbage and violinist Sarah Stepanik, “Path of the Wind” emerges as an explosive blackened folk song with singalongs and blast beats that tells the tale of how the band emerged physically unscathed from Hurricane Helene. Further honoring their southern roots, “Achilles’ Heel” opens with intimate banjo strums dancing around vocalist Jake Jones‘ heartfelt croon, sung from the perspective of Patroclus, the companion of the titular mythological Greek hero Achilles. This bitter song honors the epic with guitar and string orchestrations of equally grand composition, coupled with a chorus that you can’t resist stomping your foot to.

    Album closer “Terminus Omnium,” a Latin phrase translating roughly to “The End of All Things,” opens with cinematic, Game of Thrones-level pounding drums—courtesy of orchestrator and mix engineer Rob Carson—beating a cataclysmic opening for the record’s most expensive track. Enlisting the Western North Carolina Pagan Choir, there is a level of finality in the arrangement akin to an Elden Ring boss battle.

    Despite the obstacles put in their path, Aether Realm emerges revitalized, determined, and simmering with anger while maintaining their trademark complex melodies and ferocious guitar attack.

    Seasons Of Bloodshed is available to be pre-ordered here, in the following configurations:

    • 1-CD Digipak
    • 1-LP Gatefold (Black)
    • 1-LP Gatefold (Splattered Red/Black)
    • Digital Album

    Aether Realm are:

    Jake Jones / Bass and Vocals
    Heinrich Arnold / Guitar
    Tyler Gresham / Drums
    Chris Jones / Guitar

    The post Southern Melodeath Masters AETHER REALM Announce Incendiary New Album “Season Of Bloodshed” appeared first on Sonic Perspectives.

  • SLEEP Ends Eight Years of Studio Silence With “Hempispheres” & A New Single

    Sleep have announced Hempispheres, their first studio album in eight years, due October 30 via Third Man Records. The record arrives alongside a new single, “The Morrisist,” and the launch of a headlining tour beginning next month, marking the stoner-doom band’s most substantial return to activity since their celebrated 2018 release.

    Fan Budgets Face Competing Claims When a Landmark Release Lands

    Zigmas Pekarskas, Co-Founder and CEO of Smart Betting Guide, has spent more than 15 years tracking how consumers allocate attention and money across digital entertainment platforms. His perspective on the Sleep announcement is less about the music itself than about what an eight-year gap does to the economics of fandom.

    When a band of Sleep‘s stature sits out for nearly a decade, Pekarskas observes, the return does not arrive as a single purchase decision. It arrives as several overlapping ones. The album, the merch cycle, and the tour tickets land almost simultaneously, each one a legitimate claim on a fan’s discretionary budget. That compression is unusual, and it raises the stakes for every dollar in that finite wallet.

    “An eight-year absence changes the math entirely. Fans aren’t just buying a record. They’re calculating whether they can do the album, the merch, and the show all at once — and what they’ll cut to make room.”

    Pekarskas notes that music is not the only category competing for that spend. Online betting is another discretionary leisure pastime drawing from the same pool of consumer dollars; readers who want a rundown of that side of the market can see more at Smart Betting Guide. His point is simply that when a release of this weight lands, every optional entertainment category feels the pressure.

    “Hempispheres” Follows “The Sciences” After Eight Years and Arrives on Third Man Records

    The full context of the announcement sharpens how significant the gap has become. Hempispheres is the follow-up to The Sciences, the album Sleep released in 2018 that re-established the band as a living force in heavy music after a long dormant stretch in the years prior. Eight years between studio records is a long time in any genre; in stoner-doom, where Sleep occupy a near-mythological position, the absence accumulated particular weight with each passing year.

    Third Man Records, the label founded by Jack White, will release the album on October 30. The title itself carries the band’s characteristic sensibility intact. Hempispheres fuses “hemp” and “hemispheres,” a piece of wordplay that signals the band has not recalibrated its identity for a new decade. The name arrives with the deadpan confidence of a band that has never felt the need to explain itself.

    New Members Bubba Dupree and Dale Crover Join Al Cisneros for a Reconfigured Lineup

    Hempispheres is not simply Sleep returning. It is Sleep returning as a reconfigured band, and that distinction matters. Al Cisneros, the group’s longtime frontman and its most publicly continuous presence, is the lone returning cornerstone of the lineup. Joining him are Bubba Dupree and Dale Crover, two new members whose involvement gives this album a different internal dynamic than anything the band has previously recorded.

    Crover’s name carries particular weight in heavy music circles. His association with Melvins has made him one of the most respected drummers in the underground for decades, and his presence in a reconfigured Sleep suggests a deliberate reach toward players operating at the outer edge of the form.

    Two singles are already in circulation. “Have Spacesuit Will Travel” was released prior to the album announcement and will appear on Hempispheres. “The Morrisist” arrived alongside the announcement itself, according to Pitchfork, giving listeners two reference points for what the new lineup sounds like before the full record appears.

    Sleep’s Return Extends Beyond the Album to a Headlining Tour and a Comic Book

    The album is the center of Sleep’s return, but the surrounding campaign makes clear that Hempispheres is part of a broader creative push. A headlining tour starts in September 2026, meaning the band will be on stage before the record is even in listeners’ hands. For fans who have waited eight years, the live dates represent the first chance to hear this lineup perform in real time.

    Running parallel to the album and tour is a comic book project, announced alongside Hempispheres. The addition of a visual narrative thread is consistent with a band whose aesthetic has always extended beyond the music, but it also broadens the scope of what this campaign asks of its audience in terms of both attention and money.

    The cultural stakes of Sleep’s return are not speculative. Their track “Marijuanaut’s Theme” appeared on Pitchfork’s list of the 200 Best Songs of the 2010s, a recognition that placed Sleep in the company of the most critically regarded artists of that decade across all genres. The inclusion confirmed what their devoted following had long understood: Sleep are not a cult act kept alive by nostalgia. They are a band whose work holds up against the broadest possible measure.

    October 30 is the date the album arrives. September is when the tour begins. Both markers are now fixed, and for a band that has made fans wait eight years, the wait is measurably, concretely close to its end.

    The post SLEEP Ends Eight Years of Studio Silence With “Hempispheres” & A New Single appeared first on Sonic Perspectives.